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Volume 3 Number 6 

December 1995 

Children's pop-ups, movables 

and novelty books: 
A short history for collectors 
Part II 

Michael Dawson 
Bath, England 

Bookano/Strand produced many other pop-up titles 
such as The stoiy of Jesus ©1936, Hans Andersen 's 
fairy stories, ©1936, and even a make-it-yourself pop-up 
booklet called The Bookano adventure and building 
book (also 1936 and now quite rare). Although Giraud 
patented the "living model" concept worldwide, his 
limited resources evidently prevented him stopping 
Harold Lentz from flagrantly breaching the copyright with 
a series published in New York during the 1930s under 
the Blue Ribbon imprint. Lentz was a gifted graphic artist 
of the German school (whereas Giraud was never more 
than competent, either as a writer or illustrator) and 
produced his books for a richer market. The Blue Ribbon 
titles such as Pinocchio (1 932) and Jack the giant killer 
(1933) have better graphics and a higher quality of 
production than any of the Bookano equivalents, yet all 
Lentz's innovations were derived from England. 

Far more original were the animated books of 
Julian Wehr - evidently another American immigrant 
from Europe - who produced, during the 1 940s and early 
1950s, a series of charming, ingenious moving books for 
(among others) the Garden City Publishing Co. and/or the 
Duenewald Printing Corp., both in New York. These 
exploited improved Webb Offset color printing 
technology and plastic ring binding, both of which 
lowered cost without cheapening the product. Wchr's 
graphic style derives from Disney's, but the way he 
produces telling movements in his pictures with the 
simplest of mechanical means has an elegance almost 
worthy of Meggendorfer. He was prolific, producing over 
30 movables in less than a decade, the patented designs 
being marketed through his firm Wehr Animations Most 
of the usual nursery rhyme and pantomime subjects were 
treated such as Animated story rhymes and Puss in Boots 
(both 1 944). 

Continued on page 8 

How "Griffin and Sabine's" 
author got into pop-up books 

Nick Bantock 

Pop-up is an unfortunate term for a genre of books. 
The very word pop evokes insubstantial fashion and 
slightness of fad. That's a cruel handicap for any form 
that would take itself half-senously. I wonder to what 
extent pop has kept pop-ups trapped as light-weights in 
the bookish arts. Suppose the same person who 
christened the Chinese game Mah Jong (roughly 
translated as the twittering of sparrows, after the noise the 
tiles made while being mixed), had also named pop-up 
books. They might now be called something like rising 
leaves. Would we not have a little more respect for their 
artistic potential, or am I, a defender of the faith, just 
waxing pretentious? 

I began my own assault on the pop-up universe in 
1989 with two title proposals: The old lady and Zodiac. 
The old lady was, small, humorous and quirky idea, based 
on the traditional sick verse, that quickly found a 
publishing home at Viking and sold very well as a 
cliildren'sbook. But, Zodiac, which had a lot of potential 
for rich artwork, never made it off the ground because it 
was unashamedly an adult art book. It was perceived that 
adults wouldn't buy pop-up books for themselves, they 
had to have a child lined up for surrogate ownership. 

I contested the point, but in my pre-Grijffin and Sabine 
days I was without power. I gave up on the notion of 
creating a cross between paper-sculpture, painting and 
text. Instead I indulged myself by having enormous fun 
making another four small, dark humored pop-ups plus a 
couple of mature education pop-ups based on animal 

Last year, after finishing the third in the Griffin and 
Sabine trilogy, I decided to use my newfound market 
power to resurrect my theory that an aesthetically 
pleasing and dramatic pop-up would be of interest to a lot 
of real live grown ups. 

Continued on page 2 

The Movable Book Society 

Movable Stationery is Ihe quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. Advertising 
is accepted free of charge from members and is included 
when space permits. The annual membership fee for The 
Society is $15.00. For more information contact Ann 
Montanaro, The Movable Book Society, P.O. Box 1 1 654, 
New Brunswick, New Jersey 08906. 

Daytime telephone: 908-445-5896 
Evening telephone: 908-247-6071 
Fax: 908-846-7928 

The deadline for the next issue is February 15. 

All my pop-ups have been made with Intervisual, the 
Santa Monica-based book packager, and they have been 
very supportive of my odd notions. When I told my editor 
about my mission (it wasn't really a mission, it was more 
of a bloody-minded determination to make a good idea 
work), she became enthusiastic. We put our heads 
together and same up with Samuel Taylor Coleridge's 
poem, "Kubla Kahn" as recipient of "the creative 

The paper mechanic is to me what the Formula One 
racing car mechanic is to the local garage repairman! 
Over the next month or so he'll consistently turn my 
paper inexactitudes into fine, smooth-running creatures. 
He sends his white card version back to me. I play again 
making further cuts and twists. He refines. If all is well, 
he sends me a large sheet that has the parts of the pops 
opened out and neatly nested together. Then comes the 
tricky part. 

I have to do the color art to fit this higly-pigly flattened 
out jigsaw pattern. The first time I was faced with the task 
I thought it nigh on impossible, but having been through 
the problem a number of times I find it marginally less 
overwhelming. It requires a little retraining of the brain, 
much like an old-fashioned typographer learning to read 
the metal type back to front. 

When I've completed the art, the paper mechanic color 
photocopies it and rebuilds it yet again. I make my final 
changes to both the art and tire cuts. Color separations are 
made of the art, and the nesting sheet is drawn up for the 
printers. Then away it all goes to print in Hong Kong or 
Colombia with a wing and a prayer. 

After a while, the proofs come back and small 
adjustments to color and die cut can be made, but mostly 
- what you did is what you get. 

I chose "Kubla Kahn" because it was both old and 
futuristic - it could, at a push, claim the title as the first 
science-fiction poem. It emanated an air of decadence that 
made me think of heaped Persian cushions, the thick 
aroma of incense and the indulgences of the Victorian 
Orientalism. I also picked it because the text was the right 
length for six spreads, and the narrative was sublimely 

The process of conceiving and constructing a pop-up is 
unlike anything else I've ever been involved in. It's both 
torturous and infinitely entertaining 

Having picked my subject, I began with a series of 
scribbles that transmogrify themselves into a set of 
graphite drawings, one for each of the spreads. I 
photocopy them, glue them to a thin card, then begin 
snipping and hacking with scalpel and scissors. 

After that, I start bending, folding and sticking the bits 
together with glue stick or double-sided tape. The result 
is a mess. But it gives me a sense of where I'm going. 

I repeat the process, building a more substantial pop- 
up. If I'm happy with what I've come up with, I glue the 
pages together to make a fully dummy of the book, which 
I send to the paper mechanic. 

Kubla Kahn was even more complicated because the 
art was only partially figurative and the cuts had to read 
as drawn edges, so they had to be exact. 

In addition to that headache, I used a lot of gold powder 
in the painting, and we had to battle to get the really 
strong printed color we wanted. After a good deal of toing 
and froing it came together, and I admit to being proud of 
the result. I just hope to hell I was right in principle and 
there are enough adults our there willing to buy a painted 
paper sculpture version of "Kubla Kalin," with or without 
the surrogate kid. 

Reprinted with permission of the author. This article 
originally appeared in the Los Angeles Times, 
December 4, 1994. 

Questions and Answers 

Q. 1 recently purchased a copy of The Bremen Town 
musicians. It is #3 of the Pocket Pop-ups series published 
by The Golden Acorn Publishing Co Ltd, Stafford U.K. 
in 1979. I would like to know the other titles in this 
series. Please let me know if you can identify any other 

Ann Montanaro 

12 Bruning Rd 

East Brunswick, N.J. 08816 

Book Auction - My First! 

Ellen Rubin 

Wednesdays I pour over the Antique Weekly 
searching for announcements of book or antique shows. 
This newspaper is locally published to cover antiquarian 
events primarily in the New York, New Jersey and 
Connecticut region but touches on events around the 
country. The most tedious search is reading the fine print 
of auction announcements looking for those events that 
may have, or better yet, feature, books. The collecting of 
movable books and paper has become a passion for me 
in recent years and broadened my chances for acquiring 
them is a favorite pastime. Most times a suitable auction 
is held in Maine or Michigan or some equally 
inaccessible place. (I live in New York's Westchester 
Country.) And equally as often, it is held at a time when 
it is totally inconvenient. I understand I can always send 
in an absentee bid but buying a book that way is very 
risky. Moreover, I had never been to an auction before 
and was eager to attend one in person. 

Well, finally the confluence of a well-timed event with 
books as the focus presented itself this summer. Located 
in Fairfield, Connecticut on a Saturday night, this auction 
was an opportunity not to be missed. The event was being 
run by the Connecticut Book Auction Gallery at the 
Masonic Temple of Fairfield. I called ahead to check the 
viewing and auction time, and to ask if the venue was air- 
conditioned; the northeast was in a heat wave. While not 
air-conditioned, the woman assured me there were plenty 
of fans. I assured my husband in turn that if the heat was 
too extreme, we were free to leave. But when we arrived 
two hours before the auction began, it was clear no 
amount of fans could sufficiently cool us. Now seeing this 
large room filled to the rafters with books, I was more 
smitten by the lure of the hunt than by the heat and so 
"promised" him I would leave only when the heat was too 

What made me stalwart was the lure of a particular 
book which, unfortunately, was number 458 of 504 items. 
I had been hunting for years for the animated books of 
George J. Zaffo who worked in the mid- 1940s and, 
according to Pop-up and Movable Books, had done five 
children's books. I was taken with the vibrant colors of 
the movables as well as the multifaccted movement of a 
single tab. The themes of the books themselves, 
transportation, invited movement and I thought Zaffo 
made the best of them. As luck would have it, I already 
had four of the five books, and the fifth, The happy little 
travelers, was being auctioned this night, reported in 
"good" condition with a dust jacket. I was hooked! 

There were several other promising movables that 1 
made note of and would bid on if the cost stayed 
reasonable. I knew what the relative value of the Zaffo 
would be but when 1 examined it, it was closer to "fine" 

and I knew I would pay "up" for it. What I also learned 
was that books piled in the front of the room and not 
listed in the catalog could be selected for bidding as well. 
Amazingly, all books left at the end of the night, would be 
auctioned off in one lot. There were several books piled 
in cartons to be sold in lots as well. Two hours was never 
going to be enough! But this was to be a labor of love 
pouring through all these books hunting for the BIG one. 
Competition was fierce, I might add, as this auction was 
well attended by collectors and dealers from the Tri-State 
area. There wasn't enough time to do the inventory 
justice. My husband stayed amused by surveying the large 
amount of erotica there happened to be for sale that night. 
It was a tactical error not to have brought the newspapers 
he loves. It was hard to believe in room full of books, he 
had nothing to read. 

I chose a few books from the piles and perspired into 
the cartons. Occasionally, there were interesting books in 
them but more often than not, I could not justify buying 
the whole lot for a single book. After receiving my 
number-paddle and reminding myself to keep it in my lap 
until I wanted to bid, the auction began. The auctioneer, 
Walt Layman, was efficient, humorous, and kept the lots 
going briskly. Since this whole experience was new to 
me, there were several surprises. Some books sold for a 
pittance, and some for several thousand dollars, but a few 
books were not bid on at all. Often an absentee bidder 
would take the prize with the high bid. Some bidding for 
books I wanted went so fast, I lost them in my hesitation. 

The heat continued to be oppressive and the snack bar 
offered only soda and donuts. My husband asked to leave 
but he wound up standing on the street where it was 
significantly cooler. He reminded me of my promise but 
the auctioneer was only at #225. 1 begged. I won. Finally, 
lot #458 was next. My heart began to pound and my 
already sweaty palms sweated more. The paddle was 
damp. Bids started at $ 1 and stayed in $ 1 increments until 
$20 then went to $2 increments until $50 when the 
increments jumped to $5. Although I had been listening 
carefully and had even bid on one or two books, this 
WAS THE BIG ONE! My husband kept asking, "How 
high did you say you would go?" We had agreed on a 
ceiling for each book bid on; the recommended way to 
bid. It was shocking when the increments jumped by $5 
and the bids got dangerously high. Luckily, my 
competition dropped off just as I hit my ceiling, and the 
book was mine! The helpers brought it to me. The series 
was complete, and my first auction experience a success. 
Though curious about who would buy up the long tables 
of unsold books and for how much, I agreed to go. My 
husband was mumbling something about "not looking a 
gift horse in the mouth." I had managed to gel some 
books for as little as a dollar, but I was most happy to 
carry away my sought-after prize. Needless to say, I 
continue to pour over the weekly ads for auctions, and I 
know I will "sweat" less at the next one. 

Missiroli Massimo: Collector 

Let me tell you how my passion for pop-up books was 
born. I work in a bank and these last 10 years I have 
devoted myself to image didactics During my spare time 
I organize workshops on animation cinema (I am a big 
fan of Norman McLaren), pre-cinema optical toys with 
teachers and children in schools and libraries. Some years 
ago, together with a teacher, I wrote a book on the history 
of cinema in which I explained how to build all the pre- 
cinema toys (zootrope, flip books, etc.). 

As I used to collect optical curiosities and paper toys, 
a friend of mine gave me / galti de gattolica {The 
children 's picture book, Intervisual, 1979); that was the 
first pop-up book of my collection. I had never seen pop- 
up or movable books and was fascinated by them, so I 
began to look for them in the bookshops of my town. 

But I understood now much this field of the book 
industry was rich when I began to go to the Children's 
Book Fair that is organized every year in Bologna. I spent 
all my time at the stands of Intervisual and Compass 
harassing Mr. Hunt, Mr. Shapiro, and Ms. Paris with 
questions. They patiently let me have a look at their 
books and satisfied my curiosities. The problem was that 
in Italy pop-up books were very rare, so that I could not 
buy the "masterpieces" that I saw in Bologna. That's why 
I began writing to foreign publishing houses explaining 
my situation: I was a collector wishing to own those 
books more than anything else. Somebody began 
answering my letters and sent me some copies. 

My collection grew apace, my bookshelves were chock- 
full and I had to put the books into big boxes that I 
stowed everywhere in the house. Now I own more than 
1 ,500 different titles, between small and big books, but 
the number of books is much higher because I like 
collecting the same title in different languages and when 
I find a particularly beautiful book I buy more than one 
copy to be sure I will still have one ifflEase one should be 
damaged in some way. I collect alL types of books. I 
believe each one has a particular charm, but I prefer the 
ones made with an original or complex paper technique 
(e.g. the National Geographic series, particularly the 
volumes created by James Roger Diaz) The books I like 
the best are The Christmas alphabet (Robert Sabuda), 
Our new baby (Pleasant Co.), La Bible (Kondeatis) and 
all the Kubasta works. 

Considering the curiosity I raised every time I talked 
about my collection to teachers and librarians, I began 
thinking about organizing activities concerning this 
subject In 1992 I founded the Centre "II Libro ha Tre 
Dimensioni" (The Book has Three Dimensions) and a 
gazette (which has become a sales book) informing 

people about the activities promoted by the Centre: 
exhibitions, workshops, bibliographies, new titles, etc. 
The books in the catalog are in the original language, 
prevailingly English, French, and German. I have also 
written articles for school reviews and librarians. 

My next project is writing a book collecting all the 
didactic methods experimented with young people until 
now, in order to create a curriculum of education to the 
image on the pop-up technique. In the meantime I go on 
collecting old and new books to increase my collection. 
I have also tried to create some books, especially 
educational books. Intervisual and Compass have 
developed some projects of mine and I hope, someday, to 
be able to see my name written in a pop-up book. It's my 
dream At the moment these projects are at a standstill, 
waiting for the beginning of the Frankfurt Book Fair. I 
hope the publishers will like them! 

Few pop-up books are published in Italy. Fabbri and 
Mondadori translate books proposed by American and 
English packaging houses. Minor publishing houses have 
begun to produce books, print in the eastern countries 
using the techniques found in Kubasta's books, because 
the costs are low and the price can be reduced, but not all 
of them are beautiful. In just a few years pop-up books 
have become more popular in Italy and I like to think that 
my Centre and its activities have contributed to all this. I 
have appeared as a guest on some television programs 
and now in Italy more and more people know of this type 
of book, but pop-up collecting still has not spread widely. 

1995 Dimensional Illustrators Awards 

The winners of the 7th Annual 3 -Dimensional Awards 
Competition were recently announced. This award 
recognizes excellence in art direction and creation of 3- 
dimensional illustration in the advertising and publishing 
print media The following paper engineers were 
recipients of awards. *■ 

•k Gold Award: Chuck Murphy, One to ten pop— up 

■k Silver Award: TorLokvig, Weather 

■k Bronze Award: David Carter, Love Bugs, 
Rick Morrison, African animal giants, 
Robert Sabuda, The knight 's castle, 
Kwanzaa celebration, and The mummy 's tomb, 
Susan Surprise and James Roger Diaz, The ultimate 
ocean boot, 
Vickie league-Cooper, Ahoy there little bear. 


1 m - Awful 

2 iV - POOR 

3 ft - OK 

4 & - Good 

5 ■& - Superb 

^4// things bright and beautiful. By Cecil F. 
Alexander. Ill: Linda Birkinshaw. Paper Eng: 
Keith Moseley. Tyndale. 0-8423-1651-5. 
$12.99 US. 19x27cm. 6 spreads, accordion bound. 6 
pop-up scenes, 1 tab mech. Art: Realistic paintings. 
Plot: A tribute to the creations of God. Engineering is 
sometimes engaging, but the illustrations are so sugary 
sweet they make my teeth hurt Paper Eng: Simple. 

^,/V^ Bear Buys a Car. By Stephen Wyllie 111: 
AjLtV Jonathan Allen. Paper Eng: Richard Ferguson. 
fca^Mi Dial Books. 0-8037-1840-3. S13.95US. 24x22 
cm. 1 1 spreads, signature sewn. 4 pops, 12 tab mechs, 
2 revolving wheels, 5 flaps. Art: Humorous ink/ water- 
color. Plot: A naive bear's encounter 
with a sleazy wolf car dealer and the 
final revenge he and a pig serve up 
Surprisingly fun for a book about car 
sales. Paper Eng: Simple. 

Gutenberg's Gift: 

from Wild Honey & 

^/Vy Beauty and the Beast and 
A^JsjV other Fantastic Fairy Tales 

"»^"" By Ron Van der Meer. 111 
Fran Thatcher. Random House. 
0-679-86669-8. $19.00 US, $24.00 
Can. 20x28cm. 4 spreads, signature 
glued. 4 pop-up scenes, 9 tab/flap 
mechs, 1 revolving wheel, 1 cello- 
phane windowed casket. Four 7x1 1 
cm. illustrated bookets, no pops. Art: 
Humorous inkAvater color. Plot: 4 
fairy tales (title + Snow White, Pied Piper of Hamlin 
and Pinocchio) retold in booklets that fit into pockets 
on pages. Pops portray whole story in an almost 
Byzantine fashion: every event is shown happening at 
once as the book is revolved. Illustrations a bit stiff but 
still very enjoyable Paper Eng Somewhat Complex. 

Busy Farm. By Sian Tucker Paper Eng: 
Paul Wilgress. Little Simon.0-689-80 197-1 
$12.95 US $17.50 Can 25x20 cm 5 spreads, 
accordion bound 3 pops, 7 tab/flap mechs., 4 flaps, 1 
revolving tractor wheel. Art: Simple, bold paintings. 
Plot: A day at a busy (but amazingly clean) farm 
Bright pictures for young readers Paper Eng: Simple 

Buzz! Buzz! Text: Mathew Price Ltd 111 
Steve Augarde Paper Eng: Steve Augarde 
Lodestar 0-525-67523-x. $9.99 US 15x23 
cm 5 spreads, accordion bound 5 tab mechs Art: 
Realistic watercolor Plot: An annoying mosquito 
bedevils some tough animals until it meets a frog The 

art and design are standard fare but the clever mechs 
(including a gorialla audibly rubbing it'siump) more 
than compensate. Paper Eng: Somewhat complex. 

-Ay Can Dogs FL Y? By Martin Chatterton. 
AJLa Paper Eng: Nick Denchfield Dial Books. 
l*Qi* 0-8037-17-76 -8. $9.95 US. 22x18.5cm. 7 
spreads, accordion bound 5 flat pops that must be 
manually engaged to become 3D. Art: Humorous, 
colorful pen/ink. Plot: Fido uses household items to try 
and build a space vehicle that can fly to the moon. A 
novel approach and fun too. Paper-Eng: Complex. 

^/v^ The Earth in Three Dimensions. By Keith 
A-isA Lye. Paper Eng: David Hawcock. Dial Books. 
N^»" 0-80371739-3. $17.95 US. 34x34cm. 1 spread 
with 3-D paper globe that turns on string axis. Also 
includes a soft cover book (24.5x29cm, 40 pgs.) ill. 
with photos and maps. Art: Realistic paintings Plot: 
History, climate and geography of the earth. Paper 

globe is amazing and makes me sick 
with env^ Paper Eng: Complex 

The Eye of the Pharaoh:A 
pop-up Whodunit. By Iain 
Smyth Dutton. 0-525- 
45427-6. $16.95 US. 21x30cm 6 
spreads, accordion bound 3 pops, 6 
tab/flap mechs, 1 1 briefcase-like 
envelopes. Art: Humorous, ink/ 
watercolor. Plot: 7 characters, each 
with a motive, are accused of 
stealing an ancient artifact. Figure it 
out. A tomb fun of fun! Very tongue 
in cheek. Three different solutions 
are available via a revolving wheel. 
Paper Eng Somewhat complex. 

Flower Fairies Pop-up Theatre Book. Text 
' and original ill. frem the Estate of CicelyMary 

Barker Background art: Colin Hadley. Paper 
Eng: Jose R. Seminano Frederick Warne. 
0-7232-4226-7.$ 12.99 US, $17.99 Can., 10.99 UK. 
21x18cm. 5 spreads, signature sewn. 4 pop-up stages, 
8 figures on paper rods Art: Reproductions of original 
pencil/watercolor Plot: Each stage is one of four sea- 
sons, use your stick fairies to put on a show Pretty to 
look at, but where are the villians for dramatic tension? 
More of a paper toy than a book Paper Eng: Simple. 

-A^. Freddie Works Out: A Pull-the-Tab Book. 
A^La By RuthTilden Hyperion 0-7868-0108-5 
■»^i" $8 95 US, $11 95 Can 15x16.5cm 12 pages, 
accordion bound 7 tab mechs Art: Humorous, flat 3 
color and pencil Plot: Freddie the frog shares his daily 
exercise regime Hilariously understated, great mechs 
1950's retro design Paper Eng: Simple. 

a holiday treat 
Harcourt Brace. 

The Golden Angel: A pop-up Ornament 
Book By Penny Ives. Paper Eng: David 
Hawcock. Little Simon. 0-689-80332-x. 
$4.95 US. $6.95 Can. 7x9cm. 10 pges, signature sewn. 
1 pop that turn into an "ornament." Art: Realistic 
pencil/watercolor. Plot: Confusing story about an angel 
made of stone. Art would be great in a picture book but 
is too small here Ornament is clunky and unappealing 
when engaged Paper Eng: Simple. Also: The Musical 
Cherub, The Snow Angel, The Painted Cherub 

Gutenberg's Gift: A Book Lover's Pop-up 
Book. By Nancy Willard 111: Bryan Leister. 
Paper Eng: Bruce Foster. Harcourt Brace & 
Co 0-15- 200783-0. $20.00 US, $28.00 Can. 25x20 
cm. 7 spreads, accordion bound 7 pop-up scenes, 12 
tab mechs. Art: Realistic paintings Plot: Fictionalized 
account of Gutenberg inventing his press to make a 
bible for his wife in time for Christmas Beautiful art, 
design and text Comes with working 
3D model of Gutenberg's press Paper 
Eng: Somewhat complex 

^/v^. Maisy 's Pop-up Playhouse. By Lucy Cousins 
A2»A Design: Kathryn Siegler. Paper Eng: Bruce 
**^/* Reifel. Candlewick Press. 1-56402-635 -3. 
$17.95 US. $19.95 Can. 24x24cm. 3 large pop-down 
scenes (kitchen, bath, bed), 1 tab mech., multiple flaps 
& press-out paper items (including Maisy). 1 small 
(9x9cm., no pops) Maisy book included Art: Bold, 
brushy painting. Plot: Play all day at Maisy's place. 
Once I saw the toilet had a lid and a seat I was smitten 
Beautifully designed and executed Paper Eng: Simple 


Morris's Magic Glasses. By Shonagh Rae 
Joshua Morris Books 0-89577-695-2. 
$11.95 US. $17.95 Can. 22x17cm. 10 spreads, 
signature sewn. 8 tab/flap mechs, removable paper 
glasses w/red cellophane lenses. Art: Brightly colored 
block prints Plot: A nearsighted mole tries to find his 
glasses Great art from an unusual medium. Fun 
mechs Paper Eng: Somewhat complex. 

^/\^ Knights. Text by Sadie Fields 
A2J\ Productions, Ltd 111 John 
•^^^ Howe Paper Eng: David 
Hawcock Orchard Books 0-531- 
09456-1. $17.95 US 27 5x24cm 7 
spreads, sign sewn 3 pops, 3 tab 
mechs, 12 flaps (on suit of armor, 
similar to early 1900's anatomical 
treatises). Art: Realistic watercolor 
Plot: Everything you need to know 
about knights and their deeds 
Informative and nicely designed, 
although a bit light on engineering 
for a topic that demands plenty of 
action Paper Eng: Somewhat complex 

Lion Cubs at Home. By Donald M Silver. Ill: 
Patricia J. Wynne. Paper Eng: Compass Pro- 
ductions. Freeman. 0-7167-6609-4 $8.95 
18x18cm. 6 spreads, accordion bound 5 pops, 7 tabs, 4 
flaps. Art: Realistic pen/watercolor Plot: The One 
Very Small Square series continues with the lives of 
lion cubs Subject matter is interesting but the art and 
design (like the rest of the series) leaves much to be 
desired Paper Eng Simple. Also: Busy Beaver Pond 

The Little Red Plane. By Ken Wilson-Max. 
Scholastic 0-590-43008-4 $13.95 US, $17.99 
Can. 27x24 cm. 6 spreads, accordion bound 
15 tab mechs, 5 flaps Art Bright, brushy paintings 
Plot: The story of a little red plane from fueling to 
fight For young, hands-on readers, which is 
surprising since the cover boasts "sturdy pull tabs" and 
the copy I saw had 50° o of the tabs completely ripped 
out Paper Eng: Simple 


Pop-"/ 5 pt a y wse 

Maisy's Pop-up Playhouse: 

an unabashed house of the 
'90s from Candlewick Press. 

The Most Amazing Night 
Book. By Robert Crowther 
Viking. 0-670-85074-8. 
$14.99 US. 9 99 UK. 24x21cm. 6 
spreads, accordion bound 1 pop, 23 tab 
mechs, 1 1 flaps. Art: Dark, heavily 
detailed paintings Plot: The world at 
night and the people who live in it. 
Similar in concept to author's All the 
fun of the fair ('92) but not as 
successful. It's just too dark to see 
anything. Paper Eng: Very simple 


The pop-up book of long 
and tall animals 111: Jon 
Ellis Paper Eng: Roger 
Culbertson Little Simon. 0-689-80135- 
$14.95 Can. 1 1x34cm. 6 spreads, 
1 pop, 5 push-ups Art: Realistic 

1. $10.95 US, 

accordion bound 

paintings. Plot: Facts abou£6 long/tall animals Dull & 

unimaginative. A mass-mafket book hiding in a trade 

jacket Stop torturing me Paper Eng: Very simple 

Rocket Countdown. By Nick Sharratt 
Candlewick Press. 1-56402-622-1. $12 95 
US, $14 95 Can. 19.23 cm. 12 pages, 
accordion bound 1 pop, 7 tab mechs, 3 flaps. Art: 
Humorous charcoal drawings with bright "color added 
by computer " Plot: An astronaut gets ready to blast 
off. Similar to the Maisy series but not as strong For 
very young readers Paper Eng: Very simple 

The Sensational Samburger. By David 
Pelham 111: Chris Moore, Harry Willock, 
David Pelham. Dutton Books. 0-525- 
45426 -8 $12 99 US. 19x1 9cm. round. 10 spreads, 
accordion glued. 9 pops Art: Humorous pen/ 
watercolor Plot Food loving Samantha and Sam are 

back trying to trap a hamburger thief. Lots of yucky 
condiments to enjoy in this burger-shaped book, which 
comes topped with 3-D paper bun Paper Eng: Simple 

Scare the Moon. By Harriet Ziefert. Ill: G. 
Brian Karas. Paper Eng: Rick Morrison 
Candlewick Press. 1-56402-657-4. $12.95. 
$14 95 Can. 20x20cm. 7 spreads, signature sewn 2 
pops, 5 tab/flap mechs, 1 flap. Art: Humorous pencil/ 
gouache. Plot: A little witch & warlock try to scare the 
moon. Sweet, but that's about it. Paper Eng: Simple. 

Seven Great Inventions. By Celia King. 
' Chronicle Books. 0-81 18-0912-9. $9.95 US 
10.5x13. 5cm. 15 spreads, accordion bound 7 
pops, 5 tab mechs, 6 revolving wheels. Art: Very busy 
mixed media (watercolored xerox, handtinted photos, 
etc.). Plot: 7 of humankind's inventions. Interesting 
idea, but so visually frantic it's difficult to locate some 
of the wheels and tabs. Paper Eng: Simple. 

Silver Bells. Ill: Robert Steele Paper Eng: 

/t«2LK Iain Smyth, James Diaz. Little Simon. 0-689- 
"^<" 80180-7. $14.95 US. $19.95 Can. 25x23cm. 
6 spreads (which open parallel to spine) accordion 
bound 6 pops, 1 electronic chip which plays music. 
Art: Realistic watercolor. Plot: Scenes of a NYC winter 
accompanied by the title song. Art and concept are nice 
but engineering is uninspired. Paper Eng: Simple. 

^^^ The Sleeping Beauty. Adapted and 111: 
A2j[ Phillida Gill. Paper Eng: MarkHiner. 
*&* HarperFestival. 0-694-00687-4. $15.95 US. 
$21.50 Can. 24x22cm. 5 spreads, accordion bound. 3 
pop-up scenes, 7 tab/flap mechs., 5 flaps. Art: 
Romantic pen/watercolor Plot: Retelling the classic 
tale. Lovely illustrations but a surprisingly "quiet" 
book Paper Eng: Simple (and "quiet" as well). 

^^\^ Stephen Biesty 's Incredible Pop-up Cross- 
/VfLjV Section. Paper Eng: Iain Smyth, Heather 
*&* Vohs. Dorling Kindersley. 0-7894-0199-1. 
$16.95 US. 27x35cm. 3 spreads, accordion bound. 3 
multi-piece pops, 8 tab mechs, 2 wheels, 8 tabs. Art: 
Realistic pen/watercolor. Plot: Detailed cross-sections 
of a fire engine, rescue helicopter and space shuttle by 
the author based on his picture books (which are 
actually more engaging than this title) A little skimpy 
too, with only 3 spreads Paper Eng: Complex. 

^^V^ The Three Little Kittens in the Enchanted 
AjLfl Forest. Text by Hillary Aaron & Complete 
^^^^ Editions 111: Jonathan Langley Paper Eng: 
Damian Johnston Hyperion 0-7868-0137-9 $18 95 
US 23x23cm. 7 spreads, accordion bound 5 pop- 
down play areas for the 3 paper doll kittens, 6 tab 
mechs Art: Humorous pencil and watercolor Plot 
Who knew losing your mittens would lead to such 

adventure? Play areas are big so a bit stiff to open (but 
worth it). Quite enjoyable Paper Eng Complex. 

The Ultimate Ocean Book. By Maria Mudd- 

nJLji Tuth. Ill: Virge Kask & Beverlye Benner 
^^^* Paper Eng: James Roger Diaz Artists & 
Writers Guild Books. 0-307-17628-2. $19.95 US. 
$25.95 Can. 22x30cm. 5 spreads, accordion bound. 5 
pop-up scenes, 3 side flaps that extend pages, 6 tab/flap 
mechs, 9 flaps, 1 revolving wheel, 1 scratch-n-sniff 
(fish). Art: Realistic watercolor. Plot: Life under the 
sea. Very informative, nice illustrations Similar to 
Nat. Geographic Action Books. Paper Eng: Complex 

^•Vy Unwrap the Mummy. Text by Sadie Fields 
A>La Productions, Ltd. Ill Ian Dicks Paper Eng: 
■"^«" David Hawcock. Random House. 0-679-87028 
-8. $20.00 US, $25.00 Can. 18x38cm. Interior contains 
one large, fold-out (120cm. long) of a mummy contain- 
ing four pop-up pieces. Art: Hilarious watercolor Plot 
Everything you ever wanted to know about mummies 
Full of interesting facts without all the scary stereo- 
typing Great for young readers Paper Eng: Simple 


f Waiting for Filippo - The Life of Renais- 
1 » sance Architect Filippo Brunelleschi. By 
Michael Bender. Chronicle Books. 0-81 18- 

018-0. $19.95 US. 25x24cm. 12 spreads, signature 
sewn. 8 pops, 1 tab mech, 1 1 flaps. Art: Realistic pen/ 
watercolor. Plot: Life and times of the Italian creator 
with highlights of his works. Full of facts for middle 
grade readers and architectural buffs, but 3-D possi- 
bilities not taken advantage of Pretty, but could just as 
easily have been a picture book Paper Eng: simple . 

^yVy Wee Mouse Christmas. By Alyssa Satin 
AJkJV Capucilli. Ill: Linda Birkinshaw. Paper Eng: 
■»^«" Uncredited. Random House 0-679-87091-1 
$7.99 US. $9.99 Can. 14x1 5cm. 9 spreads, signature 
sewn. 6 pops, 3 flaps. Art^Realistic paintings. Plot: A 
mouse family plays during'the night before Christmas. 
For very young readers. Generic story and painfully 
sweet illustrations Paper Eng: Very Simple 

What's in the closet? A Spooky pop-up. By 

5j£fc RuthTilden. Ill: Sandra Tiller and Ted 
*^m Owens Little Simon. 0-689-802676. $9.95 
US, $13 95 Can. 12x19x4 5cm. Box-like closet opens 
to reveal a 75cm. long accordion pull-out with approx. 
4 pops, 7 tab mechs, 9 flaps Art: Humorous pen, 
airbrush, watercolor Plot: The perils of trying to find a 
lost kitten in an extremely crowded closet A visual 
feast! Clever and even better than the author's What's 
in the fridge? of last year Paper Eng Simple 

Robert Sahuda is a New York Citv based author. 
illustrator ami paper engineer. 

8th Annual Pop-up and Movable Book Exhibit 

Curated by James Sinski 

University of Arizona 

Main Library 

December, 1 995 - January, 1 996 

An exhibit of books with paper 

engineering designed by Keith Moseley 

will be featured in the lobby of Special Collections 

during the month of December. 

The exhibit is free and open to the public. 

History of pop-ups, continued from page 1 

Giraud's death in 1951 left something of a vacuum in 
the British pop-up book scene. To an extent he had 
enjoyed a virtual monopoly here during wartime and the 
immediate post-war years - presumably most other 
children's book publishers felt daunted by the amount of 
specialized hand-finisliing that would be required in order 
to compete. The printing industry was emerging from a 
period of unprecedented hardship during which there had 
been restrictions on all aspects of production: most books 
at this time - especially children's books - seemed drab. 

Another refugee from die Nazis was Leopold Schliesser 
a Czech jew who before the war had been a banker in 
Prague. He fled to London in 1938 and eventually took 
over Bancroft & Partners trading in fancy goods. After 
die hostilities he returned to his native country hoping to 
find a source of cheap ethnic trinkets - Christmas tree 
decorations and the like. The communist bureaucracy had 
just established Artia as state-run import/export agency 
for all types of artefacts - including books. In the course 
of negotiations he was shown some children's novelties 
recently produced by a designer called Vojtech Kubasta 
which immediately caught his eye. They were card- 
backed booklets that opened sideways, the pages being 
formed by concertina-folds. By a simple method of 
cutting and re-folding the sheets, Kubasta achieved a 
lively series of stand-up effects that ran through the book 
- nicely complemented by his faux naif 'peasant style of 
graphics. (The McLoughlin Jolly Jump-ups had used the 
same principle a decade before but far less 

Schliesser agreed to test-market some titles even doing 
a few English translations himself since Artia had - at the 
time - no one who could cope Table, lay yourself, The 
runaways and the robbers, and Snow White were among 
the first to arrive in the laic 1950s under the imprint of 
Bancroft & Co. (Publishers) l.ldAVestminsler Books, a 

division that had been specially created for the new line 
of business. Being colorful, unusually dimensional and 
pocket-money cheap they proved an instant success - not 
in smart bookshops (many of which still carried few 
children's titles, and those grudgingly) but in penny 
bazaars and on market stalls. Soon Bancroft had 
established itself as a major importer of such material and 
Kubasta had become one of the brightest stars in Artia's 
export program. 

Kubasta had trained as an architect but gravitated 
towards graphic design at an early stage, producing - 
during the 1 940s and 1 950s - innumerable illustrations 
for books (usually black and white) in a somewhat dry 
academic style. A lifelong interest in puppets and fairy 
stories seems to have stimulated experiments with cut and 
folded paper in the mid-50s: by the time of his death in 
1992 he had produced almost 70 pop-up titles - an 
impressive record considering that he was responsible for 
all stages of a book's creation and design. It is said that 
Artia eventually produced 30 million copies of his pop- 
ups, translated into 37 foreign languages ...including 
Chinese and Japanese! 

As time went on, Kubasta produced a range of 
variations on the cut-and-fold technique that became his 
trademark, though not his sole invention. A large format 
series (sometimes referred to as Panascope Model 
Books) started to appear, each containing one single set- 
piece pop-up scene: richly colored, intricate, amazingly 
substantial-looking and often incorporating small moving 
parts. One of the best known, Christopher Columbus 
(1960) opens to reveal a fully-rigged "Santa Maria" with 
accompanying galleons as they approach the New World. 
Moko and Koko in the jungle ( 1 96 1 ) is another. He 
devised a series of twelve tiny pop-up books to help 
children with counting: each features a different number 
{One white daisy, Two is company, Three is a crowd, 
etc., 1964) that tell the adventures of a different group of 
objects or animals. There were eight titles in the Tip + 
Top series ( 1 96 1 -64), square in format and featuring an 
endearing pair of scamps who get into mischief in all 
sorts of grown-up locations: a car factory, an airporfc^a 
moon rocket, and so on. Besides being hilariously 
inventive, they pack in quite a bit of serious information 
to catch the imagination of a receptive child. And then the 
more familiar series (some still in print in the Czech 
Republic) featuring popular pantomime or folk tale plots. 

In Hie 1960s and 1970s it was politically difficult, if not 
impossible, to export direct from a Warsaw Pact country 
into the USA. Bancroft provided a back door route for 
Artia products which - though manufactured in 
Czechoslovakia - were technically published in London. 
An American entrepreneur, Waldo Hunt, President of a 
Los Angeles based print-brokerage company, Graphics 
International, saw some of Kubasta 's books and was 

Schuhle Exhibit 

"Pop-up Books from Around the World" 

40 titles from the collection of Peter Schuchle 

Including works from Spain, Italy, 

Denmark, Holland, Japan, Great Britain, 

and the United States. 

December 7,1995 to March 3 1 , 1 996 

Robert Hull Fleming Museum 

University of Vermont 

61 Colchester Avenue 

Burlington, Vermont 95405 

Museum hours: Tuesday-Friday noon - 4 p.m. 

Saturday and Sunday 1 - 5 p.m. 
Closed Mondays and major holiday weekends 

excited over the prospect of marketing them in America. 
He sought out Bancroft in London and asked if he could 
place a massive order... a million copies in all? Thrilled 
at the prospect, Bancroft dispatched its young Editorial 
and Productions Director - Michael Thomas - to Prague 
to clinch the deal. The Artia bigwigs listened to his 
proposal then said that to ensure such a massive rise in 
production it would be necessary to secure agreement 
from the printing works bosses. A delegation thereupon 
went to the factory to explain to the overseers. "So what 
do you think to such a dramatic increase?" they asked 
"Quite out of the question!" was the reply. "Such a big 
unexpected order doesn't fit into our Five Year 
Development Plan." 

Though frustrated, Hunt continued to create 
dimensional and pop-up magazine inserts and premiums 
in Graphics' Los Angeles studios which were printed and 
hand assembled in Japan. Hunt's desire to eventually 
produce his own books was to lead to a late twentieth 
century renaissance of the genre, quite as golden as had 
occurred a hundred years before. Graphics moved to New 
York in 1964 and packaged a line of children's pop-up 
and novelty books for Random House. The first was 
Bennett Cerf's pop-up riddles (1965) which proved 
popular enough to launch the scries to a flying start. 

Over a period of several years, Graphics International 
produced some 60 Random I louse titles including some 
stunning volumes (often illustrated by artists from west 
coast design studies and printed with great finesse in 
Japan) notably those in the Pop-up Classics series such as 

The Wizard ofOz ( 1 968) and 20, 000 leagues under the 
sea ( 1 969). Although these all appeared in America as 
Random House books, Graphics International retained 
the right to market them to other publishers elsewhere so 
in the UK most appeared under Roger Schlesinger's 
R H S Publications imprint and many also appeared in 
continental editions. 

In the late 60's Graphics was purchased by Hallmark 
Cards and Hunt moved his staff from New York to 
Kansas City, Missouri. There they continued to produce 
a charming stream of well illustrated, decently produced 
but perhaps slightly conformist pop-ups - as part of the 
firm's ethos it was necessary for all the books to carry 
this assurance: "Every title has been tested to be certain 
of its interest. You can be sure that a Hallmark children's 
book will be a happy and healthy experience for young 

In 1974, Hunt's contract with Hallmark expired and he 
returned to Los Angeles where he started a new pop-up 
book packaging company called Intervisual 
Communications, a venture that has recently developed 
into the highly successful public company Intervisual 
Books Incorporated. It would be wrong to give an 
impression that the enormous current upsurge in pop-ups 
is entirely Wally Hunt's doing - there are now many other 
packagers producing work of equally outstanding interest, 
including Compass Productions, also in California; White 
Heat in New Mexico; Sadie Fields Productions in 
England, and several others. But, Intervisual pioneered 
the concept of globally assembled and distributed books: 
it showed others the way. Projects may germinate here or 
on the continent, be developed by a design and paper 
engineering team in Santa Monica who prepare a matrix 
for printers in Colombia, Singapore, Thailand or even 
China. Meanwhile, the title is being sold to publishers 
worldwide so that foreign language versions can be 
prepared for production alongside the original. 
Consignments are shipped to the four corners of the 
world. Maybe 18 months after a pop-up notion first 
crosses the mind of renowned children's illustrators like 
Jan Pieiikowski, Kees Moerbeek or Tomie de Paola, its 
realization - accurate in every complex dimensional detail 
- is simultaneously on bookshop shelves in New York, 
London, Pans, Rome, Tokyo, and Sydney Even Nister's 
or Meggendorfer's minds would have boggled! 

But what of the books themselves? Of the many 
thousands published during the last two decades it is 
impossible to do more than single out a few personal 
favorites. It would be inconceivable not to include Jan 
Pieiikowski 's Haunted house ( 1 979) and Robot (1981) - 
the first of these has sold well over a million copies and 
is still in print! A fine example of an educational pop-up 
is Heather Coupcr and David Pelham's The universe 
(1985) - a stunning evocation of space and the formation 
of planets Also intended as serious teaching aids are two 

companion volumes by Jonathan Miller and David 
Pelham: The human body (1 983) and The facts of life 
(1984) - both packed with authoritative information 
augmented by extremely skillful tliree -dimensional 
models. All of these came from the Intervisual stable but 
I must allow myself two final choices from elsewhere, 
both entirely lighthearted: The crocodile and the dumper 
truck (1 982) is a crazy romp through tourist London by 
Ray Marshall and Korky Paul; The Transformers pop-up 
book (1986) is Vic Duppa-Whyte's fantasy sci-fi piece 
de resistance: in one double-spread alone he manages to 
incorporate 1 2 separate moving parts! 

This article is printed with permission 

of Book and Magazine Collector 

London, England 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or adver- 
tising. All titles include pop-ups unless otherwise 
identified. Titles reviewed in Robert Sabuda's "Movable 
Reviews" column are not included in this list. 

Creepy crawly creatures. National Geographic. 10 
pages. 9 x 9'/2. Sold with Undersea treasures, $27.50. 

The earth pack. By Ron van der Meer and Ron Fisher. 
National Geographic Society. 1 V* x 1 1 Vi. 1 6 pages. 48 
interactive devices. $40.00. 

My grandmother lived in Cooligulch. By Graeme Base. 
Abrams. 8x10. $19.95. 0-8109-4288-7. 

Santa 's workshop: A magical three-dimensional tour. 
Dutton. $18.99. 0-525-45343-1. 

Star wars: The Ados Eisley cantina pop-up book. Little 
Brown. October. $19.95. 0-8234-5351 1-7. 

Undersea treasures. National Geographic. 1 pages. 9 x 
9'A Sold with Creepy crawly creatures, $27.50. 


The Movable Book Society 

P.O.Box 11654 

New Brunswick, New Jersey 08906